Somers Town is a typical example of an indie film made for the sake of being indie; it's distilled, slow moving and at times poignantly moving in as much of an anti-melodramatic manner as possible, yet it's also blatantly empty, pointless and more often than not, unremarkable. Coming off of his critically acclaimed This Is England, director Shane Meadows here crafts a mostly pedestrian feature that doesn't quite understand the distinction between meditative and sleepy. Sure enough it can be an amusing seventy minutes, with some nice scenes between two very capable actors who play natural characters, but as a whole, these sets of ideas never really mesh into one coherent piece of work. Being more likely to induce drowsiness rather than enlightenment, Somers Town, much like it's closing sequence, is like watching someone's holiday photos as they prattle on about their mundane day over each slide; at times there will be something interesting to be heard, but it just never seems to justify taking the time to do so. This is a shame because deep within the movie, there is definite heart and some strong themes, yet smothered by countless scenes of uninteresting, minute details, this follow up to Meadows' previous success feels more like a forgettable intermission rather than a whole, solid production.
Set in modern day London, around the construction of the Channel train system, Somers Town tells the tale of two teenage boys as they slowly find their way into their new and unfamiliar setting. Tomo (Thomas Turgoose) is from the East-Midlands of England, and having "nothing" back home (this is all that is revealed) has ventured to London to try and make something of himself; he doesn't know what he's going to do, but it seems he doesn't have much choice either way. Marek (Piotr Jagiello) is from Poland, having moved with his father to England after his parents break-up back home. Eventually both characters meet, and through their mutual alienation of being away from home and having nothing to do, they form a friendship. What follows from here is a whimsy, but deeply grounded tale that attempts to document the coming of age of two young lads as they come to terms with their new surroundings, and their new partnership. It can be sweet and fun to watch as the boys run mischief and share their conflicting ideas on topics such as food and women, yet much of this is saved for the remaining second half of the feature. The first half is notably dim, and although has its moments, feels more like an overlong introduction.
Shot in monochrome, the film takes on a style that is reminiscent of this year's In Search of a Midnight Kiss in its romanticism of an otherwise dreary, worn down city. This side of London isn't pretty, as Tomo finds out early on when he's brutally mugged, and so the photography does well to echo the film's more ambitious, arty nuances used to portray the gritty, down to earth side of the story. One thing that it complements really well however, and not to positive effect, is the film's minimalist nature; the black and white does well to bring to the life the film's greatest, most poignant sequences, yet the filling between these areas becomes a lot less interesting to watch as a result. This was a problem in the aforementioned film also, but being that Somers Town is dramatically shorter winded, the less successful moments don't hinder the film's romanticism of realism to irreversible effect. The soundtrack is just as bare, and features the rather worn-out acoustic, indie compositions that fit the tone of the film well, but never go anywhere or do anything remarkable; it's developed at a suitable pace, yet the score itself is too timid and dry to warrant much attention outside of its cliché appearance.
The primary intention that writer Paul Fraser here seems to striving for is simply to make us laugh, and such he does, but not very often. In fact he does a whole lot more than strike a chuckle or two; he crafts realistic, three-dimensional characters, he uses natural dialogue and mundane chatter to occupy his story, but such is where these small indulgences in practising the mundane becomes mundane in themselves. To be able to write everyday life, one can certainly involve realistic banter, dry themes and an almost nonexistent, nonlinear storyline, but when such is translated onto the big screen, it looses its relevancy. Somers Town certainly has integrity, and it has genuine heart, but in the end its pedestrian approach simply becomes too much of too little to achieve what it is obviously setting out to do. The actors do a strong job with the script and meadows certainly manages to get more than a few compelling scenes out of all involved, but the overwhelming feeling by the end is one of disquieted indifference; there's no denying that these seventy minutes feature some fine moments, but such indulgences could probably have been better suited to a short film format. It's a decently short affair for those who can appreciate dry-bones, hyper-realism cinema, but for anyone looking for anything profound or entertaining, you should probably stay away from Somers Town less you be mugged of your consciousness.
Set in modern day London, around the construction of the Channel train system, Somers Town tells the tale of two teenage boys as they slowly find their way into their new and unfamiliar setting. Tomo (Thomas Turgoose) is from the East-Midlands of England, and having "nothing" back home (this is all that is revealed) has ventured to London to try and make something of himself; he doesn't know what he's going to do, but it seems he doesn't have much choice either way. Marek (Piotr Jagiello) is from Poland, having moved with his father to England after his parents break-up back home. Eventually both characters meet, and through their mutual alienation of being away from home and having nothing to do, they form a friendship. What follows from here is a whimsy, but deeply grounded tale that attempts to document the coming of age of two young lads as they come to terms with their new surroundings, and their new partnership. It can be sweet and fun to watch as the boys run mischief and share their conflicting ideas on topics such as food and women, yet much of this is saved for the remaining second half of the feature. The first half is notably dim, and although has its moments, feels more like an overlong introduction.
Shot in monochrome, the film takes on a style that is reminiscent of this year's In Search of a Midnight Kiss in its romanticism of an otherwise dreary, worn down city. This side of London isn't pretty, as Tomo finds out early on when he's brutally mugged, and so the photography does well to echo the film's more ambitious, arty nuances used to portray the gritty, down to earth side of the story. One thing that it complements really well however, and not to positive effect, is the film's minimalist nature; the black and white does well to bring to the life the film's greatest, most poignant sequences, yet the filling between these areas becomes a lot less interesting to watch as a result. This was a problem in the aforementioned film also, but being that Somers Town is dramatically shorter winded, the less successful moments don't hinder the film's romanticism of realism to irreversible effect. The soundtrack is just as bare, and features the rather worn-out acoustic, indie compositions that fit the tone of the film well, but never go anywhere or do anything remarkable; it's developed at a suitable pace, yet the score itself is too timid and dry to warrant much attention outside of its cliché appearance.
The primary intention that writer Paul Fraser here seems to striving for is simply to make us laugh, and such he does, but not very often. In fact he does a whole lot more than strike a chuckle or two; he crafts realistic, three-dimensional characters, he uses natural dialogue and mundane chatter to occupy his story, but such is where these small indulgences in practising the mundane becomes mundane in themselves. To be able to write everyday life, one can certainly involve realistic banter, dry themes and an almost nonexistent, nonlinear storyline, but when such is translated onto the big screen, it looses its relevancy. Somers Town certainly has integrity, and it has genuine heart, but in the end its pedestrian approach simply becomes too much of too little to achieve what it is obviously setting out to do. The actors do a strong job with the script and meadows certainly manages to get more than a few compelling scenes out of all involved, but the overwhelming feeling by the end is one of disquieted indifference; there's no denying that these seventy minutes feature some fine moments, but such indulgences could probably have been better suited to a short film format. It's a decently short affair for those who can appreciate dry-bones, hyper-realism cinema, but for anyone looking for anything profound or entertaining, you should probably stay away from Somers Town less you be mugged of your consciousness.
- A review by Jamie Robert Ward. For more reviews of all the latest movies please visit: http://www.invocus.net